In the mid-90's the introduction of affordable, small form factor camcorders (DV, DVCAM, DVCPro formats), and cost-effective NLE systems, combined to thoroughly revolutionize and democratize the television and video production industry. The "gatekeepers" (programming executives) at networks had to change their thinking and acceptance criteria, progressive producers adopted the technology, and the industry polarized into two distinct pods: large networks and small boutique production houses that use 1099 Misc. freelancers - very little "middle class". Bottom line: affordable tools placed in the hands of seasoned pros and newcomers alike radically altered the dynamic and status quo of the television and video production industry.

Then:

The introduction of affordable 24p (DVX100, etc.) signaled the first assault on the sacred sanctuary of filmmaking. Media convergence was placed into overdrive! Traditional filmmakers were forced to learn video technology in order to compete on increasingly limited budgets with a ravenous horde of indie filmmakers armed with 24p video camcorders and desktop NLE's that enabled a "film look" using electronic technology rather than a manual/celluloid paradigm. Film crews learned about CCD's, electronic menus, new posting technology, etc., while TV/video crews learned about using prime lenses, depth of field, and editing 24p. Affordable 24p video technology had effectively converged the film and video camps into one large tent - video electronics, mated with film lenses and techniques. Then media convergence jumped into warp drive: George Lucas shoots "Star Wars" with a convergence camera (F950), Walter Murch edits "Cold Mountain" using Final Cut Pro, Steven Soderburgh shoots "Full Frontal" in DV, and a myriad of other examples of convergent projects. Simultaneously, scores of indie "films" (though no film was ever used in the workflow) were created by DVX-armed "filmmakers", and were flooding indie film festivals worldwide. The floodgates were open and the flow was irreversible...

Fast forward to 2003-2005. New technology, affordable chips, and increased storage possibilities spark a new generation of techno-geeks to attempt to create relatively affordable digital cinema cameras to address the creative desires of hungry indie filmmakers, wannabe HDTV producers, and disassociated film industry crews. The large equipment manufacturers struggle to protect their "upper end" lines from the techno-onslaught, while broadcasters and few large production houses that are bury their heads in the sand in an ostrich act justified by "protecting their legacy investments". The well-intentioned indie camera manufacturers are hamstrung fiscal shortfalls and a resultant lack of access to materials and R&D.

Enter the RED camera. Charles Darwin was right in many respects. Humankind evolves - and so does their tools. It doesn't take a "rocket scientist" to recognize that the evolution of media convergence of the film and video industries has opened the barn doors to the next incarnation of digital cinema cameras. Is there an industry need for an affordable 4k/2540p/1080p/720p/480p "Swiss Army Knife" of a digital cinema/HDTV camera? Yes! Will the traditional large equipment manufacturers produce such a camera, and in the process cripple their higher end offerings? No! So- there's a huge demand for a product like that, and zero supply of such. Along comes Jim Jannard and RED. They recognize the demand, see that nobody will or can fulfill fill the product need, assess their possibilities to create a product to fill the need, decide that they can, start R&D, gather together some of the best engineers, programmers, shooters, and marketers they can find, and here comes the RED camera!

Post script: If the RED camera meets its specs, is affordable, and is marketed effectively, it has the potential to revolutionize the convergent film/video industry in the same way that the cost-effective DV/DVCAM/DVCPro cameras and desktop NLE's introduced in the mid-'90's, and affordable 24p (DVX100, etc.), enabled massive convergence of film and video. Now that film crews and TV/video crews largely and progressively use the same technology, the time is right for such a tool as the RED camera. Earlier adopters of progressive technology greatly enhance their creative and fiscal competitiveness in the marketplace. Slow adopters and the "I'm not changing, I've always done it this way" resisters have effective programmed themselves for professional extinction - and they don't even realize it. Buying a new paintbrush doesn't automatically make you Picasso, but if you have the talent and experience to bring to that new brush, great results are inevitable. If the other artists in your competitive sphere have equal experience and talent, but they are using outdated, worn, expensive brushes, their paintings simply have a lesser chance of competing in price and quality against the others. As artists we all want to create the masterpieces we've dreamed of. Artistry is a right brain function. Planning and budgeting are left brain functions. The stark reality is that without going left brained enough to face the fiscal realities of the evolving film/video marketplace, the majority of artists will sadly never realize their dream productions. It's time for a left brained reality check folks. If the RED camera meets it's specs, is affordable, and is marketed correctly, you've probably then found the convergent paint brush that will take you to the next level, enable you to realize your creative dreams, and allow you to compete and financially survive in an increasingly competitive media marketplace.

In professional Darwinian terms, what's it going to be for you - evolution or extinction?

I apologize if this has already been posted, but I don't remember seeing it.

HD For Indies Exclusive: The Scoop on the RED camera-YES it's for real
UPDATED - see below

OK, so here's the scoop on the RED camera:

It's real. Jim Jannard, founder of Oakley, is the guy behind it, as the web rumors have suspected.

I got a chance to have a long conversation with Jim Jannard and a bunch of his engineers about the RED camera that they're making. After hours of conversation, you can color me a believer in what he's doing, and what he wants this camera to do and be.

UPDATE: this is NOT an interview. I wrote this in a hurry and realized a Q&A between a hypothetical reader (and the questions and tone they typically would have) and myself, knowing what I know about the camera, would be a good format to present the information in. For instance, my comment about "da bomb" was me having fun with some of the reader inquiries I get. In my hurry to get it online, I failed to define that. My bad. Read this more like an FAQ on a website than a sit-down interview with anyone in particular. Answers provided are my answers, based on my opinions and knowledge of Jim and the RED. My apologies if I inadvertently gave the wrong impression.

OK, on to the good stuff:

Q&A on RED the company:

Q: Is this thing for real?

A: Yes, it is. Wholeheartedly.

Q: So who's behind it?

A: Jim Jannard, founder of Oakley. Jim is a HUGE camera nut himself, owns about 1000 cameras himself - digital, film, motion, still, all of it. He shot all of Oakley's ads himself until the early 90s. This guy is hands on about cameras, and has changed his role within Oakley to allow time for the new company, RED.

Q: But they make sunglasses and stuff. What are they doing making a camera? Why?

A: Two reasons:

1.) Jim is a huge camera nut, as I've said, and

2.) Jim has a long history of entering markets that others have dominated and disrupting those markets. Jim's original vision when he started Oakley was to marry art and technology.

2 1/2.) Oh, and probably because he thinks it'd be fun and cool, and Needs To Be Done. The established players are reluctant to come out with disruptive technology, because, frankly, it would disrupt their business models and make their existing client base cranky. RED isn't.

Q: Can they do this? Jim? Oakley? Huh? After all, they make sunglasses and clothes and stuff.

A: They have, time and time again, entered new markets different from where they started and done well with it. At first that was a motorcycle handgrip, then goggles, then sunglasses, etc. etc. etc. I was very impressed with how serious they were about the technology and material science parts of this. Oakley is a big believer in being self contained, they have extensive tooling, testing, and machining capabilities inhouse. They are big believers in best tech for the job, and were the seventh delivery of a rapid prototyping system back in the early 90s for example. They are big on being early tech adopters where it pays off, and aggressive about incorporating latest advances.

Q: Where's the money coming from?

A: Jim and Oakley have tremendous resources, both financial and technical inhouse, and this puts them in a different league from all the other camera wannabes.

Q: Dude! So what about the camera? Is it da bomb, or a bomb?

A: As for the camera itself, there's a lot of information on the RED website itself, go check it out. I wrote about the specs a couple of times already here and here. But it says right there on the website that "This information is preliminary. It could change at any moment."

Q: When's it coming out?

A: Unknown. If you read their contact page on the site, it says they'll be making a presentation at NAB 2006 (that's in April in Vegas for those not keeping track). It doesn't say shipping product, it doesn't say announcement, it says presentation, which is ambiguous. And see above Q&A about preliminary specs - sounds closer to malleable dough than cooked bread. Engineering takes time.

Q: What good is it going to do non full-on Hollywood productions if it is only fiber channel out? Isn't that ultra expensive and big and heavy?

A: You'll notice they state a variety of output options on the camera on the website:

"RAW 4:4:4 through the dual fiber channel outputs, 4:2:2 out of the HD-SDI output, or record to RED codec. Full raster 2540p, 1080i/1080p, or 720p" Lots of choices. Also, RED Flash system is mentioned for recording, this sounds like some kind of solid state recording to me. Hard drives are also mentioned. It sounds like they are trying to offer a variety of options to a variety of users. Uncompressed RAW, as I wrote about the other day, would be a deleriously huge amount of data, and quite expensive as well. The RED codec, described as available at data rates from 100 down to 19 megabits, sounds like it would serve a variety of markets at a variety of price points. How high for the high end users? How low for the low end? Unclear at this time.

Q: So what's up with this Mysterium sensor?

A: I don't know, but the specs are pretty amazing. Mysterium is still just that - a mystery.

Q: What tape format does it record to?

A: I've seen no tape format mentioned on their website. I've seen lots of data storage devices mentioned, but no tape. There is an HD-SDI tap for those who want to go old school to a tape deck. But it sounds like they want to go "New Skool" and skip tape altogether except for legacy support (and live broadcast type situations, if this camera is applicable there?).

Q: What about lenses?

A: PL mount and custom RED mount, with their own Ultra High Def Lenses. So keep in mind, that opens up all kinds of doors to use existing film lenses. One of the reasons HD lenses have been so expensive is because the biggest sensors have been 2/3 inch at best. The smaller the sensor, the better the glass has to be to focus accurately on that smaller target. Costs go up as tighter tolerances are required, etc.

Q: So, can they REALLY pull this off?

A: Time will tell. If they can draw on Oakley's resources, then yes - they have experience in optics and designing products for use in the harshest conditions. Jim has extensive camera experience and interest himself, and clearly has the personal resources and connections to recruit and support some high level talent for what they don't have inhouse. Before my conversation with them, after I knew Jim was involved but before I'd spoken with them, I felt the biggest obstacles were going to be the expertise to manufacture the serious glass involved in the lenses, and the electronics expertise to pull off the guts of the camera. The only electronics product I had been aware of were the THUMP sunglasses with MP3 player embedded.

But I was extremely impressed with what they had to say, and I heard a lot of good answers back when I expressed doubts and had questions about some things.

This looks like they want to make a radically different camera than what is presently on the market. Others have tried, or are in the process of trying, to get a camera out that will be IT centric, small form factor, large imager, etc. But this looks to be the best funded effort out there.

In summary: if there is going to be a seriously disruptive technology, I feel it pretty much has to come from an outsider company, with no entrenched architecture, infrastructure, or client base to protect. To be successful and long lasting, it also helps to be a well backed venture, with strong engineering and brains behind it. And a marketing machine like Oakley can provide surely can't hurt.

Jim and RED fit the bill to take a serious swing at it.

Based on my conversations with them, I think RED is going about it the right way, and will make exactly the kind of camera that I'd LOVE to work with.

-mike
Posted by: Mike Curtis / 1:47 PM (41) comments links to this post

Great article, thanks for posting!

...So how do I go on doing so? I'm highly intrested in this product and would love to dabble in some of my resources, etc. Let me know Jim or anyone on how to better contact you guys. Thank you..

you can reach me directly here at:

op@questbeyondfilms.com

Rodacker,

I recommend getting yourself to NAB with a resume in hand, and meet the RED team face to face.

Best wishes,

Are there any investment ops for such a project?

I'm doubting it. Given the tremendous financial backing already involved, the one thing RED doesn't seem to need is more money.That's just my opinion though -- your question is really for Jim to answer. You could of course invest in Oakley (on the NYSE it's the OO symbol), although RED is not directly a part of them, from what I understand there will be an Oakley lens.

I have tried to keep up with all the happenings and can say one thing. If all is true Jim will be the Steve Jobs of video. The computer was there but Steve brought the PC (not windows PC but Personal Computer) (way smaller/cheeper than IBMs big monster) to the masses. Video cameras have been there but Jim will bring affordable 4k to the masses (compared to Arri or Viper). I have a feeling you will see Red in the hands of many great Directors and DPs. It is human nature to be reluctant. People have been burned before and they are just taking this a step at a time. If I could be at NAB you would see me at the Red booth everyday. Jim you have my support. People like you make life a little easier. I know people laughed at Edison when he talked about the light bulb.

I am glad to be in video right now. We are at the cross roads of a great revolution. What will happen, who knows. People holding road signs, like Jim, will in the end decide the future of video.

Jim to Ted... "Do you want to make video cards the rest of your life or do you want to come with me and change the world?"

Be sure to check this out -- here is Steve's interview with RED creator Jim Jannard. It's pretty thorough and answers a lot of questions. In fact it's so good I'm making it a sticky. The link is:

http://www.studiodaily.com/main/news/6388.html

Can't reveal a name but heard the red camera may have an option of coming in camoflauge for outdoor, wildlife, shooting. Good idea!!!!! if it is true shows this red group is thinking, there are an enormous amount of professional shooters out there that make a living in the outdoors. Next thing would be making it water proof. They could own the outdoor video market or at least make a big splash. Cant wait to see some footage.

I already own the trademark on the underwater version. I plan to make a fortune selling Deep RED. :)

Why not just make some ipod like skins for Red, the design seems simple enough. =P

Sorry for not reading hundreds of posts - when is the RED actually coming?

Okay found the information under "Steve Gibby's interview with Jim" in sticky.

Sometime in 2007 appears to be the answer, not sure I can wait that long...

: )

Projections (subject to change at any time by RED)

4k footage to be shown in the Fall, potentially at IBC Expo in Amsterdam

Assembled prototypes available in December

First camera shipments in early 2007.

I'm curious what the reservation count is up to since I'm tempted to jump in line. Does anyone know or is there a place it's being tallied?

I dont know the exact count as it currently stands. I do know i am 312 and i see others mentioned at 321 so i would guess at around 340-360.

Once IBC takes place you may find (pretty sure you WILL find) that figure rising pretty fast once the footage is shown for the first time.

Should you jump in.......What have you to loose. a few dollers in lost interest thats all.

What have you to gain.......Well the founder has stated that Red are geared to mass production. The whole point of the reservation is simply to gauge how many camera's they will produce on their first big production line. Before that there will be a small number of camera's produced and given to those in the first small batch. Once experienced pros like Gibby and others get their hands on the camera we will quickly know just how brilliant this camera is and how much great value it represents. The idea behind this is probably to iron out any teething faults or errors BEFORE they go to full production. The founder Jim Jannard stated that those who reserve will not be disappointed. You can take out of that whatever you like, but i detect something there ....do you?

Michael

Yeah, I'm really already there. I expect I'll get in ASAP.

Conventions:
- NAB 2007, Las Vegas, April 16-19 2007, booth SL5405 & SL14700-MR:
- http://www.nabshow.com/vr2/shows/nab2007/start.html

I had the pleasure of visiting the IBC today. Unfortunately I got in too late for the big screen 4k footage presentation. But I made a 1 minute impression of the Red info boot - it's just a quick snapshot, don't expect too much.

Click here for the 1 minute video (http://www.expeditionworks.nl/robin/video/ibc.wmv)

Please keep in mind my precious data traffic, so please don't post this link on any other website :)
Thanks guys.

Unfortunately it's a .wmv file.

Unfortunately it's a .wmv file.

That´s where flip4mac comes in...

Thanks for sharing, I enjoyed the peek!

What are the approximate dimensions of the current design of the camera body? I have heard 7" long a few times, but it look much bigger then that in the pictures I have seen...

The 7" mention was my mistake Joseph. I was thinking 7lbs and printed 7". I'd guess the current mockup body is about 10" long (without lens of course). The specs still say around 7lb for weight, which they have from the beginning.

That's too bad. 7" would be real nice. 10" is not to bad either ;)

http://red.com/gallery-still.htm

I love the 959. Low light, detail. Try this with a Varicam.

The full clip which included the watch, the girls, a man smoking a cigar, gum bubble blowing and the car played 4K in the IBC Digital Cinema on a Sony 4K projector.

The same footage was running in the booth on a 1080 plasma screen and in 2K on an Apple display.

A short section of the car clip was playing on a Viewsonic (almost) 4K monitor to show off the dynamic range and an early development version of the REDCODE codec.

Pretty impressive that the light is in the shot itself. Look how nicely it rolls off on the car and how much detail is still visible in the shadows. You can also just see the light behind car's mirror on the right, which is pointing *towards* the camera! You can see how it blends nicely with the mirror itself instead of harsh blownout highlights.

You can also still see the black and orange cables on the right side of the car picture...

Again, please try this with a Varicam.

I'm trying to find a clean frame of a footage that is shoot this summer, same situation (one Vehicle), similar light setup.

You have to see some sample frame.

A look inside the Oakley Interplanetary Headquarters in Foothill Ranch, CA. Please turn on your speakers for some great music and set screen size to full.

http://americahurrah.com/PhotoShow/Oakley.htm

Bill
Mission Viejo CA

Are there any pictures kicking around of a Red prototype in action? I thought maybe there'd been something posted here but I can't find anything now.

Are there any pictures kicking around of a Red prototype in action? I thought maybe there'd been something posted here but I can't find anything now.

As recently as last week when David Stump did his green screen test, he used the breadboard 'Frankie', which is short for Frankenstein.

I don't believe they will have a proper prototype assembled using a Red One body until sometime next month.

Pretty amazing to think all the footage we've seen so far came from that rickety breadboard with a sensor that hasn't been completely characterized.

Preprototype or breadboard cameras tend to look like things only their parents or engineers could love. If I were RED I wouldn't want such an image floating around the internet for the next ten years. Perhaps Frankie will find her way into the RED Museum at some point. The Sons (Daughters?) of Frankie will no doubt be more photogenic.

Not sure if I'll get my wrists slapped for posting this, so apologies in advance, but I was just emailed an interview with Ted Schilowitz at www.macvideo.tv not sure if it will push forward what many of you know about RED, but it sure is nice for those of us who can't make it to any of the shows to see the sparkle in a delevopers eyes as they talk about the camera.
Can't wait to rent one.
John

He does seem to be almost giddy when he's talking about it. I hope I'm as giddy when shooting my first feature with it :)

Updated NAB booth(s)

For those who haven't noticed yet, red.com has been updated with a whole load of new renders. Much clearer detailed look at the different configurations, locations of connectors etc.

Nick

Yes, 35 new HIGH-RES renders are up!

http://red.com/photo-tour.htm

Can anyone from the Red team offer an approximate estimate of when the cameras are likely to start shipping? (No commitment, just an educated guess.) We have someone locally who's early on the order list and I'd like to coordinate with him to do some test shoots.

last i heard they were looking at April - guessing around NAB

This is one of those situations where you'll just have to be fast and flexible on your scheduling.

So, I have 4 reservations and am interested what should my expectations be, on delivery times, and mainly on nab now. like for example in amsterdam IBC I knew there would be 4k screening, i even got my reservation, even thou it was not nessasary, but at least I head some expectations.

Also, I feel a bit not comfortale because i do not feel updated on red, on my 4 reservations.

:*)

RED will have 4k projection in their tent ( think they said 16ft x 9ft screen )
you should see/hear about workflow ... camera & accessories should be around .. expect the tent to be FULL of persons ..
they might have a tentative shipping schedule on reservations #'s ...
and then there is the UNKNOWN as RED has hinted at some BIG surprises.

I can't find anythjing on when they are actually shipping. I heard they were supposed to ship many times, but what is the reality on it?

Well im pretty sure www.red.com has good indication of it -

http://www.red.com/news/view/79 lol

Target ship dates are indicated at http://www.red.com/news/view/79

Woke up this morning and saw some new news are Red.com. Ted Schilowitz is touring with the Apple Final Cut Pro tour showing the Peter Jackson short. Now I'm really excited I had decided to register for all of the final cut pro events in NYC!!! I don't know how much space is left, but now everyone has even more reasons to go and see the Final Cut Pro tour.

http://www.red.com/pages/apple_peter_jackson_tour

That's great news! I'll bet the line to get in won't be "NAB length" either. Thanks for sharing this,

New to the Video world, but after spending 10+ years as a still photographer, all I can say is wow on the product the Red is making! I just purchased an Sony FX7 and I love it but I have already starting putting away for one of these systems. I shoot Airshows both Still and now in video with my FX7, but would really love to have a Red system to have for the Nellis AFB show in November being that its the 60th Anniversary of the Air Airforce, So with that said I have been working my backend off to hopefully purchase one here in OCT. But at the rate its going now it will not be till next Oct.... LOL! Oh well atleast I'm working on getting one! Just wanted to say that I was excited to see such a product in development and keep up the hard work RED, I know I will just to own one!!!

Mike

Welcome to the board and glad to hear you've found us as you transition into video. The FX7 is a great camera, and I'm sure the RED ONE will be a winner. Working in HDV will be a great primer when you move up to 4k with the RED ONE, along with your photography skills.

Team RED have stated that they're taking an approach with the RED ONE similar to how DSLR systems work: you buy the camera, then add lenses, etc., and keep using it longer than 2-4 years, but maybe even 10.

heath

The Hollywood Reporter currently has an article re: RED and the upcoming Soderbergh films.
Not too much news, but interesting nonetheless.

Check it out here:

http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1003609682